Best known for his photorealistic drawings, Longo explores imagery within a complex social and cultural forces. Robert Longo was born in 1953, in Brooklyn, New York, and has had a childhood fascination with mass media: movies, television, magazines, and comic books, which continue to deeply influence his art. One of the quintessential artists of the 1980s, Longo is perhaps best known for the writhing, dancing figures in his iconic Men in the Cities series.

The American artist´s drawings are, perhaps, his most iconic. They are as much about the content they depict as they are about the artist´s intense devotion to the practice of drawing. His amazingly deep, anthracite charcoal drawings show emotional motives. Perhaps the best known photorealist series of Robert Longo´s is Men in the Cities, depicting contorted, life-size human figures in an urban setting. Robert Longo´s art focuses on his never-ending investigation of the themes of power and authority, which also permeate his series of blackened American flags (Black Flags, 1989–91), and oversized handguns (Bodyhammers, 1993–95). Longo´s series, Monsters, which depict massive breaking waves, and The Sickness of Reason, featuring atomic bomb blasts, followed in 2002 and 2004. It was during the 1980s that Robert Longo started to produce editions, mainly lithographs. He then gradually developed a high-end print technique, Pigment Print, which allows him to reproduce his drawings perfectly. Robert Longo´s prints capture the same level of detail and emotional impact of the original drawings.

Robert Longo

Robert Longo is known for large-scale, hyperrealistic charcoal portraits that consider power, authority, and social unrest.

https://data.wengcontemporary.com/media/Robert_Longo_Collection_Content_Sheet__2024_580gePQ.pdf

Robert Longo's “Head of Christ” is a charcoal drawing that reinterprets Rembrandt's original painting c. 1648–1656 through the lens of an X-ray image. This work is part of Longo's "Hungry Ghosts" series, where he examines iconic artworks by depicting them as X-ray images, revealing their underlying structures and inviting viewers to contemplate the hidden layers of these masterpieces.&nbsp;The work exemplifies Longo's technical skill and conceptual depth, encouraging viewers to engage with the interplay between visibility and obscurity in art.

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“ I want to make the stuff I can’t see. „

—Robert Longo